Tay, Sharon Lin.  “Constructing a Feminist Cinematic Ideology: The Gothic Woman’s Film Beyond Psychoanalysis.”  Women, Vol. 14, No. 3 (Winter, 2003), pp. 263-280.

Distinctive historical and social factors provided for the emergence of the Gothic woman’s film in Hollywood during the 1940’s.  The Second World War elicited an upheaval in the American social hierarchy, necessitating that women enter the work force and thus empowering them to an unprecedented degree.  Also, the movie-going audience changed, with a larger proportion of females in the audience than men, since the majority of them were abroad fighting.  Finally, the cinema adjusted to address this new predominantly feminine audience, introducing female protagonists and feminine plotlines.  Heterosexual marital fulfillment often remained the ultimate goal in these films, with the rejection or failure to comply with this societal standard usually resulting in the heroine’s madness or death. 

When comparing Gothic films from the early 1940’s with those made later in the decade, the heroines of the earlier films harbor unwarranted suspicions of their husbands, while in the later films another male character is introduced who is thoroughly benevolent and succeeds in rescuing the heroine.  Still, the Gothic woman’s film differs from the conventional films preceding it because, for the first time, the heroine puts up some degree of resistance to compliance with traditional societal demands.  Indeed, the primary focus shifts from purely romance to violence and mystery, qualities shared with other genres such as film noir and horror.  This transgression by the plotline and the heroine of conventional expectations destabilizes and exposes gaps in the normative cinema structure, and the ambiguity created by this uncertainty is the source of suspense. 

Epitomizing the transgression beyond traditional boundaries is Rebecca, who represents the exact opposite of the young wife’s demure, conventional femininity.  Symbolized by the turbulent, crashing waves of the sea, Rebecca’s uncontrollable, unpredictable power creates a constant source of tension and disruption throughout the film.  Whenever the possibility of calm or resolution arises, a monogrammed belonging of Rebecca’s may appear, thrusting the plot back into uncertainty and chaos.  This atmosphere of paranoia and fear is highly characteristic of the Gothic woman’s film, and the transgression of traditionally feminine societal norms formed a basis for the eventual development of the feminist movement.

Waldman, Diane.  “‘At Last I Can Tell It to Someone!’: Feminine Point of View and Subjectivity in the Gothic Romance Film of the 1940’s.”  Cinema Journal, Vol. 23, No. 2 (Winter, 1984), pp. 29-40.

During the period from 1940-48, Gothic romance films were produced by virtually every major Hollywood studio, using stars and famous directors.  Women were a major target of the film industry, as this period historically constituted a transition to increased sexual freedom, the introduction of birth control, and the possibility of a life separate from domesticity.  It was this role definition which served as the societal precondition which allowed for the success of the Gothic romance films of the 1940’s. 

A paradigmatic feature of Gothic film is deliberate ambiguity regarding the interpretation of happenings by the characters.  This is a hallmark quality shared by horror and fantasy films, however, in the Gothic variety, this hesitation is often experienced by a female protagonist, and her ultimate decision is thus a commentary on the feminine experience.  The Gothic romance film is therefore the first major example of the growing perception and portrayal of the female perspective, especially regarding men.  Constructing the common thematical framework of the heroine’s isolation, women’s restriction to the domestic sphere is often condemned, yet the heroine is still persistently rescued by some form of authoritative man.  The typical 1940’s American family was semi-patriarchal, encompassing a nominal decrease in the husband’s authoritarian power, yet retaining the sexual division of labor, which translates seamlessly to the feminine portrayals in Gothic films.  Hence, it is obvious that Gothic romance films mark the beginning of the transition to more widespread acknowledgement and understanding of the female position in society, but the genre by no means grants women the credibility and freedom they ultimately deserve.